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Canadian Institute for Historical Microraproductions / Institut Canadian da microreproductions historiquas
Technical and Bibliographic Notes / Notes techniques et bibliographlques
The Institute has attempted to obtain the best original copy available for filming. Features of this copy which may be bibliographically unique, which may alter any of the images in the reproduction, or which may significantly change the usual method of filming are checked below.
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Coloured covers / Couverture de couleur
□ Covers damaged / Couverture endommagde
□ Covers restored and/or laminated / Couverture restaur^e et/ou pellicula
I I Cover title missitig / Le titre de couverture manque
I I Coloured maps / Cartes g6ographiques en couleur
I I Coloured ink (i.e. other than blue or black) /
Encre de couleur (i.e. autre que bleue ou noire)
Coloured plates and/or illustrations / Planches et/ou illustrations en couleur
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Bound with other material / Reli6 avec d'autres documents
Only edition available / Seute Edition disponible
Tight binding may cause shadows or distortion along interior margin / La reliure serr^ peut causer de I'ombre ou de la distorsion le long de la marge int^rieure.
Blank leaves added during restorations may appear within the text. Whenever possible, these have been omitted from filming / II se peut que certaines pages blanches ajout^es lors d'une restauration apparaissent dans le texte, mais, lorsque cela 6tait possible, ces pages n'ont pas ^t^ film^s.
Additional comments / Commentaires supplemental res:
L'Institut a microfilm^ le meilleur exemplaire qu'il lui a 6t6 possible de se procurer. Les details de cet exem- plaire qui sont peut-dtre uniques du point de vue . ibii- ographique, qui peuvent modifier une image reproduite, ou qui peuvent exiger une modifk»tion dans la metho- ds normale de filmage sont indiqute ci-dessous.
I I Cotoured pages / Pages de couleur
I I Pages damaged / Pages endommag^es
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Pages restored and/or laminated / Pages restaurtes et/ou pellicul^s
0 Pages discoloured, stained or foxed / Pages dteolortes, tachetdes ou piqu^es
I I Pages detached / Pages d^tach^es
|v/| Showthrough / Transparence
I I Quality of print varies /
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Quality in^gale de I'impression
Includes supplementary material / Comprend du materiel suppl^mentaire
Pages wholly or partially obscured by en-ata slips, tissues, etc., have been refilmed to ensure the best possible image / Les pages totalement ou partiellement obscurcies par un feuillet d'errata, une pelure, etc., ont 6\6 film^s k nouveau de fa^on d obtenir la meilleure image possible.
Opposing pages with varying colouration or discolourations are filmed twice to ensure the best possible image / Les pages s'opposant ayant des colorations variables ou des decolorations sont film^es deux fois afin d'obtenir la meilleure image possible.
This Ham !• f ilnwd at tha raduction ratio chackad balow /
Ca documant ast film* au taux da rMuction Indiqu* ci-daasoua.
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Th« cppy filmed hart hM b—n r«produe«d thanks to th« g«n«rositv of:
NatloMi C«11*ry of CanmU, Library
Tha imoflM appoaring hara ara tha baat quality poasibia eensidaring tba condition and lagibility of tha original copy and in kaaping with tha filming contract spaeif icationa.
Original capias in printad papar covers ara filmad beginning with tha front eovar and ending on tha laat page with a printad or illustrated imprea- sion, or the back cover when appropriate. All other original copies ere filmed beginning on the first poge with a printad or illustrated impres- sion, and ending on the last page with e printed or illuatratad impression.
The last rscorded frame on each microfich* shell contain tha symbol — » (meaning "CON- TINUED"), or the symbol Y (meaning "END"). whichever applies.
Maps, plates, charts, etc.. may be filmed at different reduction ratios. Those too large to be entirely included in one exposure sre filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method:
L'exemplaire film* fut reproduit griea A la gAnArositi da:
Nuste dss BNUX-Arts <tu Canada, BlbltotMquo
Las images suivantas ont it* raproduitos svsc Is plus grsnd soin. compts tanu da la condition at da la nettet* de reKomplaira fi;ma. at an conformity avac les conditions du contrst de filmage.
Les axamplaires originaux dont la couvorture an papiar est imprimae sent filmis sn eommanpant par ie premier plat at an tarminant soit par la darniire page qui comporta una amprainta d'imprassion ou d'illustrstion, soit par la second plat, salon Ie cas. Tous las sutras axemplairas originaux sent filmis an commencant par la pramiire pege qui comporte une emprainta d'imprassion ou d'illustration at an tarminant par la darniire page qui comporta une telle empreinte.
Un des symboles suivants spparaltra sur la darniire image de cheque microfiche, talon Ie cas: la symbols >^ signifis "A SUIVRE". Ie symbols V signifis "FIN".
Lss cartes, plenches, tableaux, etc.. peuvant itra filmas A des taux da reduction diffSrents. Lorsque Ie document est trop grsnd pour ttre reproduit en un soul clichi, il est filmi * psrtir de I'sngle supirieur gauche, de gauche i droits, et de haut 9n bas. en prenant la nombre d'imeges nacessaira. Les diegrammas suivants illustrant Ie mathode.
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MICROCOPY RKOIUTION TBT CHART
(ANSI and ISO TEST CHART No. 2)
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^ /APPLIED IIVMGE Ir
1653 East Main Street
Rochester. Ne» York 14609 USA
(716) 482 - 0300 - Phone
(716) 288 - 5989 - Fox
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I. t. H. lilAjdOONALD. All^CA.
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WIL^AII MHHESHANK* ItCA.
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THE Airr Kirawrti OF TdadpOTo
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Ut GALLERY
1st ANNUAL EXHIBITION
THE SOCIETY OF CANADIAN PAINTER-ETCHERS
HAyiLTON PUBLin LIBRARY
FOREWORD
riE democratic world movement now in prof^rcss has not failed to make its impresiit un the vital issueH of Art. It manifests itself perhaps most conspicuously in the astonishing; advance and development of methods of pictorial reproduction. H.wUTto the unique quality of a work of Art has been significant and dealers still guard jealously the importance of this fact in furthering their sales.
Now the democratic tendencies demand more and more that Art shall be made for the people — and brought within the means of the greater number.
On this account artists of our time are giving serious attention to the various reproductive processes — Engrav- ing, Lithography and Etching. All these processes, ori- ginally invented through the genuine need of the artist, have been more or less abused and mishandled by com- mercial uses and in turn neglected by the artist. The beauties and possibilities of these methods remain prac- tically unknown to the public — and although it is a diffi- cult task to reinstate them to the high position they deserve in the Arts, great strides have already been made both here and in Europe towards their firm re-establishment.
The men whose names are here appended, working in the various media of artistic reprodtiction, have formed an association called the Society of Canadian Painters-Etchers. It is the intention of this grouj ^f men, together with such new workers eventually elected to the Society, to continue and develop in Canada the great tradition of th» artist-print in its many phases — the tradition born of such men as Diirer, Holbein, Rembrandt, the great Japan- ese, Hokusai, Hiroshige, etc.
It is the purpose of this Society to hold exhibitions of prints of contemporary Canadian artists (original Engrav- ings, Lithographs, and Etchings) in all the large cities of Canada.
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WM. J. THOMSON, Pres.
FRED S. HAINES, Sec. Thornhill, Ont.
NaV 1 5 ;95|
CATALOGUE
ALEXANDER, WILL W.
1. Bridffe at Twilight (Aquatint ) $20 00
2. In Gloucester Harbour (Ktching) 10 00
3. A Fish Wharf. Gloucester (Etching) 8 00
4. Schooner in I'ort ( Etching) g 00
BEAUPRE. EUGENE TotmIo
5. Girl with Doll
6. A Musician ....'.
7. Waiting for Daddy
8. Billy '..'.'.'.'.'.'.'.'.'.
9. Morning
10. Susie '.'.'.'.'.'.'..','.,'.'.'.[
COTTON, JOHN p,ri^ Fn»e.
11. Puehlo. Santa Clara. New Mexico (Dry
Point) 12 00
12. Old Santa Fe ( Etching) 12 00
13. Interior de Beguinage. Bruges (Dry
Point) 15 00
14. Eucalyptus ( Etching) 15 00
15. A Bruges (.anal ( Dry Point) 15 00
16. Dundas Valley ( Etching) 25 00
17. Blossom Time (Color Etching) 25 00
18. Firs. Epping Forest (Color Etching) .... 25 00
FAWCETT, GEORGE WumiiMf , Man.
19. Pines and Rocks ( Etching) 8 0»)
20. Rocks and Water Lillies (Etching) .. ! 8 OQi
21. The Old Mill. Belleview (Etching) ..... 15 UO
22. The Sun Inn (Etching) 15 00
23. The Monastery St. N( rbet 10 00
24. Sand I^ke. Ont g (Xi
FINCKEN, JAMES H. PLibdelphit
25. Observatory Hill. Phila. (E ching) IQ 00
2o. Old Bartram House (Etching) 6 00
27. .Abandoned Spring House (Etching) 6 (X)
28. On the W'eshawing Creek ( Etching) .... 9 00
29. Delaware Landscape (Etching) 9 00
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30. Darby Creek (Soft Ground Etchins ) $ 9 00
31. Old Farm KuildinRft (Soft Ouund Etching) 9 00
32. Tree Matfeii ( Metzotint) 10 00
33. Near Morton, EveninK (Mezzotint) 10 00
GALLAGHER, SEA/S BMtoa, Mm*.
34. .St. Paul'* Cathedral. Huston (Etching).. 15 00
35. The Village Censor ( KtchinK ) 15 00
36. At Day-break (Etching) 15 00
GREENE, T. G. TorMto
37. A Soldier of the Soil (Drv Point) 10 00
X. At the Village Barber's (Dry Point) .... 10 00
39. Loading Coal (Dry Point) 10 00
40. Irish Setter (Dry Point) 15 00
41. Young :iucke.- Fisher (Dry Point) 10 00
42. The Header (Dry Point) 10 00
43. Pigs in Clover (Etching) 10 00
44 The Apple ( Dry Point ) 5 00
45. Plough Team (Dry Point) 10 00
HAINES, FRED S. ThornUIl, Ont
46. Fly Time (Aquatint) U) (a)
47. Woodland (Aquatint) 25 00
48. The Shepherdess (Color A(|uatint) 20 00
49. Winter (Color Aquatint) 18 00
50. The Mill (Color Aquatint ) 15 00
51. The Lugger (Color Aquatint ) 10 00
52. Old Birches (Color Aquatint ) 10 00
53. Pastoral (Color Aquatint ) 10 00
54. Evening (Color Aquatint ) 10 00
55. Grazing (Aquatint) 10 00
56. The Hill Top (.Aquatint) 10 00
57. The Lovers (Color Aquatint) 12 50
58. Summer Day (Soft Ground) 10 00
59. Shepherd Girl (Aquatint ) 12 50
JOPLING, F. W. Toronto
60. Heating Billets ( Dry Point ) 30 00
61. Queenston Heights (Dry Point) 25 00
62. Under Brock's ShacU.w (Dry Point) 20 00
63. Toronto Steamer — Lewiston (Dry Point) 20 (X)
64. George Washington's Headquarters (Dry
Point) 15 00
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KEAGEY, JAMES W. V. c«^, EX.
65. Temple .»f Morns. KK'pt Not for »alc
66. Where GojmI Fattenini; Ik (Aqiutint) I 8 00
67. FroRn ( .Aquatint ) 6 00
LAUII» E. L. WoodbrMf*, Ont
68. The Old Humi'!»tead (Afjiiatint) . 30 (10
69. Winter in the Woods (Mezzotint) •' 00
70. Sunshine (.Xquatint) ^j 00
7!. Suninur Idyll ( Mezzotint ) 30 00
MANLEY, C M. Toroato
72. Old Thatch (Dry I'uint ) 20 00
7.V The Liundry ( l)ry f'oint ' 15 00
PHILLIPS, WALTER J. WianiiMf. M«i.
74. Summer Morning; ( Ktcninjj) 17 00
75. The Path of (Jold (Wood Block I'rint) . . 12 00
76. White Wilderness (Wood MIock Print)... 12 00
77. Margaret ( Wood Block Print ) 6 00
78. The Uke Shore ( Wood Block Print ) . . . . 9 00
79. Still Water (Wood Block Print) 12 00
80. The Island ( Wood Block Print ) 12 «)
81. Winter in Winnipeg (Wood Block Print) 6 00
RAINE, HERBERT MontrwJ
82. "la Mai.son Pont ntuf. .St. Ji)achim. P.Q.
(Etching) 25 00
83. A Far ^ Yard. St. Joachim. P.Q. (Etching) 25 00
84. From le Barn, St Joachim. (Etching).. 20 00 85 Place ^que.s Cartier. Montreal (Etching) 20 00
86. St. Vincent Street, Montreal (Etching) .. 20 00
87. -"niig Street. Montreal (Etching) 25 00
REID, Gf^ORGE A. Tonmto
88. Decorative Panel (Etching) 25 00
STURGES, D. C MdroM, Mm*, MSJ<.
89. Money Lender (Etching) 30 00
90. Cooper ( Etching) 25 00
91. V^endor of Greens (Etching) 18 00
92. Old French 'Cellist (Etching) 30 00
93. Which One ? (Etching) 20 00
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94. Splash (Etching) 115 00
95. Old Lamp Cleaner (Etching) 20 00
96. Cup of Tea (Etching) 18 00
97. Kniting Lesson (Etching) 30 00
98. Grubstaked (Lithograph) 15 00
99. Cap'n Happy (Lithograph) 15 00
1(X). An Argument (Lithograph) 15 00
101. Fish Vendor (Lithograph) l*? 00
102. Built a Good Deal Like the Old Sally B.
(Lithograph) 15 00
STEVENS, DOROTHY Toronto
103. Reverie (Dry Point) 15 00
104. Book Plate (Etching)
105. Portrait Study
SUTHERLAND, FRED W. ^iumbor Bay
106. Indian Girl (Wood Engraving) 20 00
107. Bridal Falls, Rocky Mts. (Wood Engrav-
ing) 20 00.
THOMSON, WM. J. Toronto
108. The Canadicns, Lake Nipissing (Etching) 15 00
109. Tow Path. Old Welland Canal (Etching) 12 00
1 10. Entrance to Canal 12 00
111. Lime Kilns. Milton 8 00
112. The Edge of the City 5 00
113. Don Valley 5 00
114. Old Homestead. Weston 15 00
115. Muggy Night 18 00
116. Creek near Philadelphia 8 00
117. Fishing Boats. Stevenson. B.C 10 00
118. Carlaw Ave., Toronto Not for Sale
TURNER, STANLEY F. Toronto
119. Intaglio Not for Sale
120. Intaglio Not for Sale
121. Intaglio Not for Sale
122. Intaglio Not for Sale
123. Peggy (Dry Point) 15 00
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STARK, W. R.
124. A Street, Le Cateau, France . . .
125. The Caf6, Paris
126. A Belgian Homestead
127. A Study of a Spaniel
128. Mons
129. Ruins of Elverdinghe Cathedral
130. A Lane, Coperinghe
Toronto
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2iid GALLERY
ALGOMA SKETCHES and PICTURES
J. E. H. MACDONALD. A.R.C.A. LAWREN HARRIS and FRANK H. JOHNSTON
ALGOMA SKETCHES AND PICTURES
By J. E. H. MacDoniJd, A.R.C.A.; Uwr«n HivrU, Frank H. Jo^uuton
PIE smaller works ui this collection were made on a sketching trip alonjj the line of the Algoma Central Railway, during the last three weeks of September, 1918. ^
As the country is quite unsettled, and has no boarding accommodation, the artists travelled and lived in an old freight car, fitted with a stove, bunks, etc. The car was left on different sidings where the country was especially picturesque and characteristic. Three stops were made, the first and most northerly at Canyon. 113 miles north of Sault Ste. Marie, then at Hubert, then at Ratchewanna. The sketches are arranged approximately in the order of their production, and the advance of the Fall may be noted by comparing the sketches made at the different points. The weather was very wet at first, but some work was done, rain or shine.
The larger pictures shown were painted at home after the trip, some of them as efforts to reproduce, with deeper truth of feeling or character, a representative scene sketched and studied on the spot. Others were painted as imaginative summaries of impressions made bv the coun- try on the mind of the artist.
The whole collection may be taken as an evidence that Canadian artists generally are interested in the discoverv of their own country, too often their work is ridiculed by the ignorant, and criticized adversely by an unsympa- thetic narrowness of mind, as though it had no traceable connection with Nature.
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J. E. H. MacDONALD, A.R.C.A.
No's. 1 to 12. painted in the vicinity of Canyon.
No's. 13 to 25, painted in the vicinity of Hubert.
No's. 26 to 36, painted in the vicinity of Batchewanna
No. i7. The Little Fall.
No. 38. The Wild River (Montreal Falls).
No's. 17 and 18 are views of Montreal River.
No's. 24 and 25— Great Falls. Montreal River
No's. 28 and 29— Mitchell Lake.
The following sketches a'-e for sale:
T, .^""'J^J' 2- •^' 5. 9. 10, 12. 14. 22. 23. 24. 28. 31. 3X 35. Price $30.00.
No's. 4. 7. 8. 13. 15. 16. 17. .?, 20. .16. Price $.15.00.
LA WREN HARRIS
97. Near Mitchell Lake.
98. Northern Evening.
99 to 114 — Painted in the vicinity of Canyon. 115 to 125 — Painted in the vicinity of Hubert. 126 to 1.18— Painted in the vicinit'v of Batchewanna 1.19 to 144— Spring. 1918.
FRANK H. JOHNSTON
No's. 40 to 63— Painted in the vicinity of Canyon. No|s. 64 to 82— Painted in the vicinity of Hubert. No's. 83 to 96— Painted in the vicinitv of Batchewanna Prices of No's. 40. 42. 44. 53, 54 . . ' $40 00
Prices of No's. .16, 43, 45. 46. 47. 55. 57, 58. 60. . .' 15 00 Prices of No's. 49. 50, 51. 52, 63. 69. 75. 84, 85. 86 20 00
Price of No. 59 25 00
Prices of No's. 41. 48. 64. 66. 70. 71. 72 74 76
77, 79, 81. 94 ;..; 75 qo
Prices of No's. 67, 87. 89. 90. 92. 93, 95 100 00
Price of No. 91 150 00
Larger works painted a.s a result of impressions on the trip:
39. Bottom of the Canyon $250 00
61. Falls. Algoma 200 00
68. Sentinels. Algoma 250 00
78. I^st Gleam 200 00
83. Top of the World 250 00
96. Agawa Canyon 300 00
3rd GAL ^Y
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WILLIAM CRUIKSHANK.
R.C.A.
WILLIAM CRUIKSHANK, RCA.
MR.CRUIKSHANK comet of a family of artists, and is a g^eat-nephew of the famous caricaturist, Geori^e Cruikshank. He was born in Scotland at Brouehty Ferry, near Dundee; studied at the Royal Scottish Aca- demy in Edinburgh and the Royal Academy Schools in London, and the Beaux Arts in Paris.
Coming to America, he first settled in New York, where he is credited with having introduced pen drawing with broad line to the continent and having established a nucleus round which grew the Art Students' League.
He came to Canada in 1871, and identified himself with the Ontario Art School — now the Ontario College of Art — and has continued his connection with it to the present time.
His important works in painting represent Canadian subjects, such as "Breaking the Road" and "The Sand Pit" — both in the National Gallery at Ottawa; "Hauling the Mast" and "Plowing, Lower Canada" — both in the present exhibition. Another aspect of his work are his portraits, several of which are represented. A great num- ber of his pen drawings have been presented by him to the Art Museum.
1. Plowing, Lower Canada. Medal, Pan-American
Exposition
2. Hauling the Mast. Lent by Brig.-Gen. Sir Henry
Pellatt, C.V.O.
3. Portrait— Late William Boultbee. Lent by Mrs. W.
M. Boultbee
4. Portrait — Professor Hutton. Lent by the Univer-
sity of Toronto.
5. Portrait — Professor Mavor. Lent by Professor
Mavor
6. Portrait— Mr. A. E. Boultbee. Lent by Mr. A. E.
Boultbee.
7. Sketch — Late Sir .(Emilius Irving
8. Dorothy
9. Pheasants. Lent by Mr. Newton Galbraith
10 to 17. Sketches. Lent by Mrs. W. M. Boultbee 18 to 54. Sketches and Life Studies. Some of these sketches are for sale. Enquire at desk.
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